Inaug.-diss.--Greifswald. / Lebenslauf.

The study addresses the problem, already identified in 1986 by Msimang that definitions such as Bascom's (1965) fail to differentiate clearly between historical narratives and legends. To evolve a more accurate definition, this study considers two Sepedi dramas: Make's Sello sa Tonki le Pere and Moloma's Marangrang (1972). The qualitative approaches (explain, interpret and compare) used in this study show that legends and historical dramas/narratives can be investigated by comparing them to identify differences between these genres. A narratological model suggested by Marggraff (1994) is used, considering three strata (layers) of a text: content, plot and style of writing. The topic, theme and atmosphere are explored, in that order, in the selected texts. The analysis suggests that the differences between a legend and a historical drama/novel arise from two elements: characters and their actions. In a legend, there are three important pillars: the exposition, the body and the conclusion. The exposition of a legend has five formulaic features: Kgalekgale [long, long ago ], Keleketla [Give us more!], E rile e le nonwane [It is a tale ], and a reference to the narrator (Nonwanenonwane!) and the listeners (Keleketla!). Some sentences/phrases are repeated slightly or without a reply. The action ends with a concluding formula: Se seo sa mosela seripa! [That is the end of the tale]. The action focuses on a main character, and there may be some repetition of actions (a cycle). The time technique may be used. There is often symbolism. Other features include a song (repeated several times), which brings pleasure and/or pride, and sometimes sorrow. A song may play a role bigger than the narrative. The presence of these factors suggests a legend rather than a historical narrative. The investigation shows that Make does not follow these rules for a legend, but elides actions he thinks the audience/reader already knows, inviting the audience/reader to participate in the narration. That implies that both the narrator and the audience know the 'rules' of a legend Make seems aware that the exposition and conclusion of a legend are based on the use of repetition of formula (a clause, sentence or sentence cluster). In legends, the characters tend to be flat (not rounded) they are interpreted focusing on one idea only (using a phrase or short sentence), which is not a complete depiction of the character. Often the author exaggerates to create humour. This study confirms that flat characters are typical of legends, adding to the artistic structure of this genre. Make successfully uses three techniques (the cycle and journey techniques, and symbolism) in constructing Sello sa Tonki le Pere. A cycle is visible in the repetition of the prosecution of Tonki and Pere to illuminate their case, strengthening and simplifying the sentencing of those animals. Make compares life to a linear journey with a beginning (birth) and a conclusion (death). The phases of the journey symbolise stages of a human life. Make used animals as symbolic characters in this drama to represent real people. Tonki and Pere represent criminals. Kgomo and Nku fight for justice for those mistakenly judged guilty of witchcraft, and they represent the accused. Tau's household represents the capital (Judgement), while Kubu's household represents medicine. A legend should end with a concluding formula: 'Mpho se seo sa mosela seripa!', showing readers/listeners that they can relax, as the narration/fable has come to an end. Make does not use this formula, but ends his fable with 'Pula! Pula! Pula!!'. To explore the structure of a historical drama/narrative, Maloma's drama Marangrang was considered, focusing on the exposition, development, climax and denouement of the drama. In the exposition of Marangrang conflict between Mapulana's children Lethoke, T iane and Madikgake (Mokone of Ma a) who argue over traditional healing (and bravery). This plot suggests the presence of the shadow technique (a shadow focuses on the actions of a character which are similar to actions of another character to be introduced later in the play) (Mojalefa, 1997:35). As a traditional healer Lethoke is a shadow for Marangrang; he stands for Marangrang's actions. By contrast, Madikgake stands for all the tribes. This foreshadows conflict between Marangrang and the Bakgatla, Ma abela, Magolego, Mphahlele tribes. This conflict appeals to the audience/readers, who want to unravel these issues/themes. / Dissertation (MA)--University of Pretoria, 2016. / African Languages / MA / Unrestricted

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À travers cette analyse textuelle et iconographique, nous avons suivi les déclinaisons de l’idée de hiérarchie à l’intérieur du Tristan en prose et dans l’iconographie d’une partie de ses manuscrits. Introduite dans la fiction, la hiérarchie devient principe ordonnateur et conduit les personnages à la recherche d’une place privilégiée dans le monde et à la recherche du sens de ce monde en expansion. Oblique, verticale ou horizontale, la hiérarchie traverse le roman et le dépasse, tout en ouvrant un dialogue problématique avec d’autres grands textes de l’époque. Nous avons cherché à comprendre le fonctionnement de l’image par rapport aux axes thématiques du roman, mais aussi par rapport à d’autres cycles iconographiques. / Throughout our analysis, we have investigated the multiple aspects of the idea of hierarchy within the Prose Tristan and a part of its iconography. Introduced in fiction, the hierarchy becomes an ordering principle that makes the characters search for both a privileged place and a meaning in a continuously expanding world. The hierarchy can be oblique, vertical or horizontal. It goes through the novel and beyond it, chiefly to open a problematic dialogue with other major texts of that time. We tried to understand the way the image functions in connection not only with the main themes of the novel but also with other iconographic cycles.

La personnalité de l’empereur, le bilan de son règne ont suscité toujours de nombreuses discussions tant en France qu’à l’étranger et la Russie n’a pas fait exception. Le corpus poétique et historique consacré à Napoléon a retenu mon attention car je me suis demandé quelles ont été les causes de la naissance du mythe napoléonien en Russie et comment sa perception a évolué au fil du temps. En analysant les ouvrages écrits par les historiens russes entre la chute de Napoléon et le début du XXe siècle et les œuvres littéraires des écrivains de cette période, on voit les changements dans l’image de l’empereur. La légende noire était de courte durée et après sa mort Napoléon devint le héros préféré des poètes tandis que les historiens essayèrent d’expliquer les événements ayant eu lieu en Europe au début du siècle. Le transfert des cendres de Napoléon marqua l’apogée de la légende ; en Russie elle commença à s’effacer après la mort de Lermontov et surtout après la parution de Guerre et Paix de Tolstoï. Au début du XXe siècle le mythe napoléonien n’émerveillait plus les poètes russes mais les historiens s’intéressèrent de plus en plus à l’époque impériale, aux relations franco-russes, à la politique intérieure de Napoléon. L’alliance franco-russe et le centenaire de la guerre de 1812 influencèrent positivement les études historiques mais les événements survenus après 1917 ont donné à la légende une autre dimension et d’autres significations. / Napoleon’s personality and the results of his reign have always been a source of discussion both in France and elsewhere, nor is Russia an exception to this rule. The corpus of poems and writings on Napoleon attracted my attention: what were the causes of the birth of the Napoleonic myth in Russia, and how did attitudes towards the French emperor change over time? Analysis not only of works by Russian historians written after Napoleon’s death up to the beginning of the 20th century, but also of literary works from the same period, reveals changes in the image of the Emperor. The black legend lasted for only a brief time, and after his death Napoleon became a hero for poets. And historians looked positively on the emperor as they attempted to explain the events that had taken place in Europe at the beginning of the century. The transfer of Napoleon’s mortal remains back to France in 1840 marks the apogee of the golden legend. In Russia, this legend began to wane after the death of Lermontov and especially after the publication of Tolstoy’s War and Peace. At the beginning of the 20th century, whilst the Napoleonic myth no longer excited Russian poets, historians on the other hand grew more and more interested in imperial period, Franco-Russian relations, and Napoleon’s internal policy. The Franco-Russian alliance and the centenary of the Campaign of 1812 influenced historical studies positively, but the events occurring in Russia after 1917 gave the legend another dimension and other meanings.

Moa Martinson var politiskt aktiv syndikalist och feminist, hon debuterade 1933 med Kvinnor och äppelträd och blev en del av den svenska modernismens genombrott, en motröst och en kvinnlig föregångare. I den här uppsatsen gör jag en närläsning av den första delen i debutromanen, “Mor badar”, varvid jag undersöker äppelträdens symboliska funktion, mor Sofis mytiska roll och berättelsens legendartade drag. “Mor badar” handlar om två kvinnor som gör uppror mot samhällets normer i 1800-talets Sverige och fungerar som en sorts urmyt både inuti och utanför texten; den lever vidare hos mor Sofis ättlingar i romanens andra del och gör ett starkt intryck på läsaren. Med utgångspunkt i Bibelns skapelseberättelse, i dialog med Ebba Witt-Brattströms avhandling Moa Martinson – Skrift och drift i trettiotalet och med stöd av historik och artiklar i Pia Laskars bok Anarkafeminism analyserar jag Moa Martinsons text och tolkar den som en feministisk urscen, en påminnelse om ett kvinnornas, eller mänsklighetens, förlorade paradis, eller en framtida vision, en utopi, där människan står i förbund med naturen på ett mera genomgripande, grundläggande, självklart sätt. Mor Sofi blir i denna tolkning en “omedveten anarkist” – en länk i en kedja av tankar och handlingar, individuella och kollektiva, spontana och organiserade, som enligt anarkafeminismen så småningom kommer att leda fram till en omvandling av samhället. På så vis blir “Mor badar” ytterst en berättelse om hopp, en dröm om det goda livet, där den patriarkala, hierarkiska dualism vi har levt med sedan århundraden tillbaka kommer att ersättas av en ny helhetssyn. Splittringen mellan himmel och jord, mänskligt och gudomligt, ande och materia, kvinna och man, ifrågasätts och i stället framträder en vision av skapande, tillit och gemenskap, där förändringsprocessen är det viktiga och kvinnan har modet att leva i samhällets utkant.

This thesis examines the ways in which historical, cultural, and literary influences have changed the way that Chaucer portrayed Aeneas in both The Legend of Good Women and The House of Fame. The primary texts looked at in comparison are Ovid's Heroides, Virgil's Aeneid, and the historical works of Dares and Dictys. This study concludes that this complex network of forces caused Chaucer to present Aeneas as an overall negative figure in his poetry.

This thesis examines the ways in which historical, cultural, and literary influences have changed the way that Chaucer portrayed Aeneas in the both The Legend of Good Women and The House of Fame. The primary texts looked at in comparison are Ovid's Heroides, Virgil's Aeneid, and the historical works of Dares and Dictys. This study concludes that this complex network of forces caused Chaucer to present Aeneas as an overall negative figure in his poetry.

The aim of this essay is to examine Scottishness in the television series Outlander, to see if it has the potential to contribute with national identities, despite being a large-scale American production which tends to present stereotypical representations. The depiction is of the Scottish Highlands in the 18th century when the Highland culture was diminished. Using a semiotic approach, I analyse visual signs and find key elements which are used to represent the Highland culture. The series is based on a romantic plot and has stereotypical elements in representing Scotland and its culture. However, I argue that despite the stereotypical representations, the ethnic group in question still can gain national emotion from the depiction. This, because of Scotland’s already romanticized history and heritage culture today. The study comes to the conclusion that a popular media representation, like Outlander, can have an impact on a nation’s identity and even politics, by reconstructing historical legends in a modern world and bringing forth a sense of belonging-ness in excess of the stereotypes accompanied.

Thesis advisor: Stephen Brown / Although hagiography and sermons from the Middle Ages are abundant, little research exists that explores the relationship between these two genres. Jacobus de Voragine compiled the most renowned medieval collection of hagiography, Legenda aurea (Golden Legend). He also compiled several volumes of model sermons, including a volume on the saints, sermones de sanctis. This dissertation examines four saints who appear in both of these works: Mary Magdalene, Benedict, Nicholas and Peter Martyr. By writing his hagiography and sermons, Jacobus attempted to guide Christians toward lives of virtue and ultimate union with God. In particular, Jacobus relied on tropological and anagogical reading of Scriptures in order to communicate how Christians should behave and what they should anticipate in eternity. In his work on two of these saints, Mary Magdalene and Benedict, Jacobus relied on the framework of spiritual ascent to God described by Pseudo-Dionysius. In particular, Jacobus focused on the first stage of ascent, the purgative. A link between the hagiography and sermons sometimes can be found in the etymological introductions in the Golden Legend. In the sermons on Mary Magdalene and Peter Martyr, Jacobus follows the virtues found in the etymology in the hagiography, while for Nicholas and Benedict, the correspondence is not as faithful. Nevertheless, throughout his sermons on the saints, Jacobus refers to episodes described more fully in the Golden Legend. Jacobus intended preachers to use stories from the Golden Legend to punctuate and illustrate the more theological content presented in the model sermons. If Jacobus's work is indicative of larger trends in medieval preaching, preachers expected to utilize hagiographical resources in order to urge their listeners to the virtuous life and an eschatological union with God. / Thesis (PhD) — Boston College, 2010. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.